Curator Don Handa presents Modern and contemporary East African artists to develop an appreciation and understanding of the region
Josephine Alacu, The Legend, 1980. Oil on board, 92 x 163cm. Courtesy of the Nairobi Contemporary Art Institute.
Since its inception, the Nairobi Contemporary Art Institute (NCAI) has been at the forefront of documenting and celebrating the rich artistic heritage of East Africa. Its current ’60 Years’ exhibition is a testament to this mission, bringing together a thoughtfully curated selection of artworks spanning six decades. These works, which reflect both the diverse artistic practices and the socio-political shifts of the region, offer audiences an opportunity to engage deeply with East Africa’s evolving art history. By eschewing strict chronology, ’60 Years’ explores thematic and formal connections across time, highlighting artists’ creative interpretations of the natural world and their use of figuration for social commentary. In this interview, NCAI curator Don Handa shares insights into the challenges and opportunities of curating such a monumental exhibition and discusses how it aims to enhance the understanding and appreciation of East African art locally and internationally.
ART AFRICA: In what ways does ’60 Years’ explore and highlight critical movements and socio-political themes in East African art, and what impact do you hope these works will have on viewers?
Don Handa: The social and political themes are most evident when examining specific works and observing how they reflect the periods during which they were created and the ideas they explored. This exhibition demonstrates that historically, representational and figurative works have held a significant position in Kenyan artistry. The artworks displayed here not only mirror that fact but also exhibit the varied ways in which artists have utilised these modes to address particular mediums. For instance, the figurative paintings by artists such as Peter Mulindwa and Josephine Alacu, produced in the early 1980s in Kampala, Uganda, reflect the training provided by the institution at the time. Additionally, these works are created as allegories for Uganda’s political and social conditions during that tumultuous period in its history. This approach can extend to artists like Peterson Kamwathi, who produced works like Kadhi’s Court. This piece speaks to the debates raging in Kenya in the lead-up to the national referendum in 2011 and was part of the ‘Three Clauses’ series, addressing three specific contentious clauses during the referendum. What indeed emerges from the exhibition is the significance of a particular approach to painting that has remained important. At the same time, different artists have employed it in diverse ways to address various themes.
Installation view of ’60 Years: the NCAI Collection’ at the Nairobi Contemporary Art Institute, Kenya.
Can you discuss the significance of including modern masters like Afewerk Tekle and contemporary artists like Syowia Kyambi in this exhibition? How do their works contribute to the narrative of East African art history?
The importance of including modern masters and contemporary artists in the exhibition and the collection lies in the fact that, as an institution, we are responding to a history that informs our work today. We must examine art chronologies and evolutions while fostering dialogue between contemporary art and works created decades ago. This approach is about tracing history and noting parallels in how artists utilise their mediums and materials. It also aims to complicate the narrative of art in East Africa by moving away from a direct, linear chronology and instead embracing a broader perspective where formal and thematic affinities emerge when examining artists and artworks from different periods in the region.
Livingstone Nkata, Namanwe Forest, Undated. ‘Livingstone GK. Nkata’ (on reverse). Oil on board, 38.1 x 48.6cm. Courtesy of the Nairobi Contemporary Art Institute.
What are some critical challenges and opportunities in curating an exhibition that spans six decades of artistic practice, and how has the NCAI addressed them to create a cohesive and engaging experience for the audience?
One of the main challenges in curating an exhibition that spans decades of artistic practice is the selection of artworks and the decision on how to sequence or organise these pieces in the space. However, the exhibition layout inherently suggests a narrative about the art from this period. To address this, we have avoided a strict linear chronology in organising the works, focusing instead on formal and thematic affinities. This approach allows us to draw parallels and connections between different artists, periods, and contexts, moving away from a singular narrative of East African art and offering a richer, more complex interpretation. In doing so, each work becomes an entry point into a specific moment in art history and the social and political history of the region, enabling us to consider them alongside other histories that have shaped the region.
Peterson Kamwathi, Kadhi’s Court VI, 2011. ‘signature 11’ (lower right). Graphite, charcoal and pastel on paper, 151 x 121.5cm. Courtesy of the Nairobi Contemporary Art Institute.
What impact do you hope the exhibition will have on the understanding and appreciation of East African art, locally and internationally?
The hope is that this exhibition will allow the audience to explore the history of art in this region through this collection and to view the region’s art history from multiple perspectives rather than through singular narratives. We aim for the exhibition to serve as an entry point to various histories, ways of working, thinking, and experiences. More importantly, we wish to offer a compelling and enriching visual experience because, ultimately, this approach engages the audience, encouraging them to delve deeper into the works presented.
The exhibition will be on view until the 14th of September, 2024. For more information, please visit the Nairobi Contemporary Art Institute.
